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DMG Newsletter for December 30th, 2022: HAPPY NEW YEAR!

There was a fanfare blowing
To the sun
That was floating on the breeze
Look at Mother Nature on the run
In the 1970s
Look at Mother Nature on the run
In the 1970s

I was lying in a burned out basement
With the full moon in my eyes
I was hoping for replacement
When the sun burst through the sky
There was a band playing in my head
And I felt like getting high

I was thinking about what a friend had said
I was hoping it was a lie
Thinking about what a friend had said
I was hoping it was a lie

Well, I dreamed I saw the silver
Spaceships flying
In the yellow haze of the sun
There were children crying
And colors flying
All around the chosen ones

All in a dream, all in a dream
The loading had begun
Flying Mother Nature's
Silver seed to a new home in the sun
Flying Mother Nature's
Silver seed to a new home

I’ve been a Neil Young fan for as long as I can recall. I remember reading about Buffalo Springfield even before their first record was released in Hit Parade mag in late 1966. When “For What Its Worth” was released as a single in December of that year and I was immediately hooked. That slow, eerie two note repeating guitar groove and the words which captured the feeling of youthful energy (hope) with simmering protest lyrics which included lines like “Battle lines being drawn, nobody’s right if everybody’s wrong”. That was a Steve Stills song and both Neil Young & Steve Still played lead guitar, sang lead (at times) both wanted to lead the band. Egos flared which meant that the original band lasted just 18 months, recording three great albums in just two years. Neil Young dropped out and began his solo career in 1969 with a wonderful self-titled solo album. Within a year, Neil started jamming with a local L.A. band called the Rockets, taking three of their members to start his own band called Crazy Horse. The first record with Crazy Horse was called, ‘Everybody Knows This is Nowhere’, also released in 1970, which included two FM radio staples: “Cinnamon Girl” and “Down by the River”. I loved that album since it captured a certain sound/spirit, somewhere between garage-rock, psych-jamming and folk-rock. Neil’s third album was called “After the Goldrush”, a combination of everything that Neil did best. The lyrics to the title song is printed above and it still gives me the chills more than fifty years later. The words are a collection of poetic images with great lines like “Look at Mother Nature on the run in the 1970’s”. I believe that Mr. Young is a fine, often under-rated lyricist. Although Neil Young was one of my fave singer/songwriters at the time, his next hit single, “Heart of Gold”, originally bothered me. It was just too corny and it reminded me of the other soft folk rock hits at the time from James Taylor and Carol King, yuck! I entered college (Glassboro State in south Jersey) in the fall of 1972 and my (music-oriented) world changed as I met other music freaks like myself who were more open minded than most of the folks from my high school. Hence, I gave up and ignored Neil Young throughout my college years (1972-1976). Finally I caught Neil Young playing “Like a Hurricane” on TV in 1977 and I was blown away by it, especially the great guitar solo. I caught Neil Young & Crazy Horse in 1978 at the Garden in NYC in 1978 for their ‘Rust Never Sleeps’ tour and I’ve been a big fan ever since. I dig that Neil Young is completely unpredictable making both brilliant and disappointing records time and again. Every time I think I have him pegged, he surprises me. I witnessed the great Neil Young & Crazy Horse tour of 1987 with my friends Sonic Youth opening for them. Each piece by NY & CH began & ended with a storm of feedback, some folks hated it, but I found it exhilarating! Check out Neil’s ‘Arc’ album which is just the feedback rave-ups from that tour. I remain an unrepentant Neil Young still, watch the various films about him and look forward to each and every release. Yes, sometimes he does let me down but I know he will win me back again in the future. There was a summer sometime in the mid-eighties when I discovered “Cortez the Killer”, from Neil’s ‘Zuma’ album. I listened to it every night before going to bed for months on end. It is still my favorite Neil Young song and it still makes me weep when I hear it, especially when Neil Young is performing it live. I raise a toast to my main man, Neil Young, a wizard and a true star! - BLG at DMG


The Independent Promoters Alliance Presents:

Tomorrow night, Friday, December 30th at 7:30pm - Two sets - $20 cash only
DiMenna Center for the Performing Arts
450 West 37th St in Manhattan
Covid protocols:

The amazing Tom Rainey Trio have been playing at the end of December for most of their long reign. For many years they played at Cornelia Street Cafe which closed a few years ago. The Independent Promoters Alliance (Matt Vernon, Chris Stern & Bruce Lee Gallanter) wants to keep this tradition alive so we organized this show and are working on some other important gigs for the future. Stay tuned!



I just wanted to say thank you to all of the DMG Newsletter subscribers who wrote back to us recently wishing us well for the present and into the future. I has been a difficult year as far as decreasing CD sales and minimal LP sales. We, the DMG staff and our friends everywhere, remain hopeful for the slow but ever-increasing interest in Creative Music of all sorts. We are getting some new and old customers coming to visit us in store and on-line and I am always pleased to meet new serious listeners as well as Creative Musicians who are our hope for the future. I will leave you with a verse from Robert Hunter, from ”Ramble on Rose”:

I’m gonna to sing you a hundred verses in ragtime,
I know this song it ain't never gonna end.
I'm gonna march you up and down along the county line,
Take you to the leader of a band.

You know who still loves you all… me, Bruce Lee G.


This Weeks Essential New Releases Begin with a Great Book/Magazine/Digest:

SOUND AMERICAN - No. 29 - The Roscoe Mitchell Issue (Sound American #29; USA) From the first I heard the Art Ensemble of Chicago in concert around 1973 at the Kitchen in Soho, NYC, (it was their welcome home return to the US gig after living in Paris for several years) and they played for 3 incredible hours, I knew that there was something special going on - it was transcendent, historic and completely mind-blowing and happening right there and then, I realized how important they were. Multi-reeds & percussion wizard, Roscoe Mitchell, was/is their spiritual leader so I have been long fascinated by everything that he does. I’ve caught the Art Ensemble dozens of times as well as many Roscoe Mitchell concerts: solos, duos, trios (w/ Joseph Jarman & Anthony Braxton), his band the Note Factory and other more recent projects (with the great trio with Craig Taborn & Tyshawn Sorey). Roscoe Mitchell was a founding member of the AACM (in the mid-1960’s), the only living member of the Art Ensemble (Don Moye joined the band in Paris around 1969) and continues to create Art with no limits in sight at 82 years of age. He also taught at several important schools like Mills College until recently. Editor of Sound American, Nate Wooley, has done a marvelous job of discussing what is important and unique about the life and Art of Roscoe Mitchell for this illuminating digest/thick magazine by organizing a cast of musicians & writers who know about Mr. Mitchell. There are fourteen articles and interviews here by Sam Weinberg, Tomeka Reid, Zeena Parkins, Ken Vandermark, John McCowen, Darius Jones, Philip Greenlief. James Fei, Nate Wooley and Dr. Tyshawn Sorey as well a great interview with John Corbett and Roscoe Mitchell himself. I’ve long found Mr. Mitchell to be brilliant, occasionally disturbing and rather enigmatic. I recall Mitchell once clearing the room (except for a few diehards like myself) at New Music America in Miami, playing soprano sax and circular breathing for an hour straight. It was too much for most of the audience, asort of trial by fire. I also remember a press conference at the Victo Fest that Mr. Mitchell did where I thought he was being a sourpuss but in retrospect I realize that he was telling like it is, the difficulty of pursuing a long life in Creating Music and Art, being black and getting rarely recognition for all of the great he has done and will still do. No turning back or resting on his laurels. I am a longtime Roscoe Mitchell fan-addict and this book/magazine will help you become one as well. Limited edition and going fast! - Bruce Lee Gallanter, DMG
Magazine/Book/Digest $16


LONDON JAZZ COMPOSERS ORCHESTRA with BARRY GUY / AGUSTI FERNANDEZ / SIMON PICARD / TORBEN SNEKKESTAD / JURG WICKIHALDER / ALAN TOMLINSON / PHIL WACHSMANN / BRUNO CHEVILLON / LUCAS NIGGLI / et al - The Small Formations - Flow I / Flow II / Harmos-Krakow by Barry Guy (Not Two MW-2 1027-2; Poland) "Fifty years and counting. One of the most important larger bands in European jazz, The London Jazz Composers Orchestra celebrated its golden anniversary over three days in Krakow which culminated in a triumphant performance of "Harmos." Long a staple of the LJCO repertoire, with its beautiful melody, it's one of leader Barry Guy's most approachable works. This rendition was powerful and moving, studded throughout with absolute dynamite individual contributions, and furnished a fitting conclusion to three fabulous days.
Since its inception the geographic locus of the Orchestra has broadened and its 17 members encompass seven assorted nationalities. Apart from Guy, who now lives in Switzerland, only trumpeter Henry Lowther, saxophonist Simon Picard, trombonist Alan Tomlinson and violinist Phil Wachsmann hail from the UK, but they are long time colleagues who have been on board since the 1980s. But even they weren't there at the beginning, when the 23-year old Guy first convened the ensemble for a BBC Radio recording in 1970. At that time the group included what became the doyen of British free improvisers, iconoclasts like Evan Parker, Derek Bailey, Trevor Watts, Tony Oxley, Kenny Wheeler and Howard Riley.
Guy states that "the LJCO has always been a band of soloists," and that is no less true now than then. Over the intervening half century Guy himself has chiseled out a unique position in creative music. Both an acclaimed composer and improviser, he personifies an unequaled meeting of the classical, contemporary, jazz and improv worlds, as well as being renowned as a sensitive interpreter of Baroque early music. He stands as one of the world's preeminent improvisers on bass with a style built on a foundation of hyperspeed responsiveness, a huge timbral palette derived from a plethora of extended approaches, and seemingly inexhaustible stamina. But he has also shown an enduring fascination with the conundrum of how to assimilate such unfettered activity into overarching frameworks for large ensembles, which has seen him found not only the LJCO, but other sizeable outfits such as the Barry Guy New Orchestra and The Blue Shroud Band." - Not Two
6 CD Box Set $58

BARRY GUY and FRIENDS with MAYA HOMBURGER / MATS GUSTAFSSON / AGUSTI FERNANDEZ / METTE RASMUSSEN / LIUDAS MOCKUNAS / TORBEN SNEKKESTAD / PERCY PURSGLOVE / RAFAL MAZUR / PAUL LYTTON / RAMON LOPEZ - Krakow 2018 (Not Two MW-2 1031-2; Poland) Two days of concerts in 2018 at Alchemia Club, in Krakow, Poland and a recording at Radio Krakow the next day from English composer, band leader and a bass player Barry Guy, in varying configurations at Alchemia of duos & trios with some of Europe & The UK's leading improvisers, culminating in an 11-piece ensemble at Radio Krakow performing the large work "For To End Yet Again".
5 CD Box Set $48

THE CHICAGO PLAN with GEBHARD ULLMANN / STEVE SWELL / FRED LONBERG-HOLM / MICHAEL ZERANG - For New Zealand (Not Two MW-1018-2; Poland) The Chicago Plan features Gebhard Ullmann on tenor sax & bass clarinet, Steve Swell on trombone, Fred Lonberg-Holm on cello & electronics and Michael Zerang on drums. This is the second disc from the Chicago Plan, their first disc was on Clean Feed in 2016. When their first disc was released both Fred Lonberg-Holm and Michael Zerang were Chicago based, but since Mr. Lonberg-Holm has moved to upstate New York. I’ve come to admire German reeds-player Gebhard Ullmann who seems to collaborate with a large number of European and American creative musicians. Check any number of great discs over the past decade or so: Gulfh of Berlin (on ESP), Conference Call (8 discs so far), a swell Clarinet Trio or that superb quartet led by Scott DuBois. Downtown trombone master Steve Swell also keeps busy touring & recording with many greats: Ken Vandermark, Paal Nilsson-Love, Mars Williams and several strong leader dates/discs on Not Two and Silkheart. Ever since moving to the Woodstock area, Fred Lonberg-Holm also keeps busy with a large circle of Creative musicians: Joe McPhee, Dave Rempis and Georg Graewe. I haven’t heard much from Chicago drummer Michael Zerang in recent years aside from Survival Unit III (w/ Joe McPhee & Mr. Lonberg-Holm).
All six pieces here were written by Mr. Ullmann or Mr. Swell. Steve Swell’s “Composite 13 - For New Zealand” is first and it an auspicious opening. Suspense-filled trombone and sax creative a cosmic drone with Mr. Lonberg-Holm’s powerful cello creating a utbulent undertow while Mr. Zerang adds minimal yet intense punctuation. The cello repeats the hypnotic line/groove while Ullman on tenor and Swell on trombone both take blistering solos. Since there is no bassist here, Lonberg-Holm switches between plucked bass-lines and ever-shifting bowed cello waves. Ullmann’s “Welcome to the Red Island” has a solemn, prayer-like vibe, with eerie simmering harmonies from the bass clarinet, trombone and cello. Although the quartet is somewhat subdued, the effect is quite mesmerizing. Although Swell’s “Sketch 6” starts off softly, it gives Zerang a chance to stretch out while the rest of the quartet play a thoughtful theme with short tart solos from the trombone and sax. I love the way both Ullmann and Swell write effective, thought-provoking harmonies for the reeds, trombone and cello while giving themselves the freedom to push things further out at times. It is a tough balancing act between extremes (quite & loud, slow & fast, reeds & trombone) but it always works to their favor. Mr. Swell takes one his marvelous brain-blasting trombones solos on “Yoyo” with Mr. Ullmann also cutting loose on his tenor sax and the cello bowing up a storm underneath. On “BA-8”, the two horns play a twisted repeating phrase which blends Braxton’s Ghost Trance Music with that Penderecki/Xenakis-like repeated pattern weirdness midway. Mr. Ullmann’s “Variations on a Master Plan” has a familiar theme which balances between written and freer sections, it is thoughtful closing endeavor. Superb throughout! - Bruce Lee Gallanter, DMG
CD $16

BALLISTER with DAVE REMPIS / FRED LONBERG-HOLM / PAAL NILSSEN-LOVE - Chrysopoeia (Not Two MW-2 1026-2; Poland) Featuring Dave Rempis on tenor sax, Fred Lonberg-Holm on cello and Paal Nilssen Love on drums. The album starts stumbling and stuttering with “Strapling“, the first of two tracks. But it takes just 30 seconds until the musicians are at top speed. Nilssen-Love, as always, whips relentlessly forward, Lonberg-Holm supports the wild chase with both harsh and brutal plucking and with angular strokes, while Rempis roars ahead of them, his staccato lines hitting unpredictable hooks - everything is performed with a velocity that is heard to bear. In the first five minutes, “Strapling“ accelerates so mercilessly that you feel as if you were sitting in an open carrier rocket, and then you’re catapulted into the open sky, sailing weightlessly along. This can be witnessed best when cello and drums stop abruptly and Rempis is out in the open on his own (a stylistically device Han Bennink liked to use in the famous Brötzmann Trio with Fred Van Hove).
However, with the second track “Muffit“ they prove that they are more than a band that can only deliver the obvious. As in their previous releases, they stick to an established scheme here, a strict three-part division: the first part comes across as a real killer (“Strapling“), the second one is more introspective (usually the nod to new classical music), the last one combines speedcore jazz and sound exploration. “Muffit“ begins with this ruminant passage before it rides on jungle rhythms and presents a rarely shown dark side of the band.
All in all, Chrysopoeia is an excellent album that shows a slightly different face of the trio. In their most wonderful moments Ballister combine Ken Vandermark’s idea of funkiness, heavy metal, free jazz and avant-gard music. To be honest, as long as they are on the scene, the absence of The Thing doesn’t hurt so much. I hope they will also last 20 years.” - Martin Schray, FreeJazzBlog excerpt
CD $16

THE NU BAND with THOMAS HEBERER / KENNY WESSEL / JOE FONDA / LOU GRASSI - Renual (Not Two MW-1028; Poland) The current version of the Nu Band features Thomas heberer on trumpet, Kenny Wessel on guitar, Joe Fonda on bass and Lou Grassi on drums & percussion. The Nu Band have been around since the turn of the century and continue as one of the greatest of all Downtown bands. The personnel remained the same for many years: Roy Campbell, Mark Whitecage, Joe Fonda & Lou Grassi. Sadly, the great trumpeter Roy Campbell passed away in January of 2014 and was eventually replaced by ICP trumpeter Thomas Heberer. Sadder still was the loss of their saxist Mark Whitecage in March of 2021. This is the second disc from the current version of the Nu Band and it was recorded at Tedesco Studios in NJ in May of this year (2022). All four members contribute songs to this disc. This disc begins with Lou Grassi’s “A Cat’s Game” which balances between charted and freer terrain, the melodic theme recalls some of the more playful older jazz forms, yet still sounds fresh. Gifted jazz guitarist Kenny Wessel contributed “Notewise” which has an ebullient groove, dream-like guitar and trumpet solos. Throughout this entire disc, one of the main things that stands out is the way Joe Fonda centers and pushes the band with his ever probing bass. Perhaps we should just call it the constant throb. Another highlight here is Mr. Fonda’s “Brown Bagging It”, which keeps shifting through more and less dense passages with Heberer’s trumpet playing a long, flowing solo while Mr. Wessel weaves in his own lines selectively, sparsely. The consistently inventive interplay between the trumpet & guitar and between the bass & drums is what makes this so interesting, as they seem to work in orbits with and around each other. On “The Unnecessary Correction”, it sounds as if the trumpet and guitar are completely each other’s lines with swirl of insistent flourishes while the bass keeps shifting in the currents that are flowing throughout. Heberer’s “Snowclone” slows things down to a eerie, hypnotic dreamscape with Mr. Fonda sculpting the space with interconnected fragments. Both frontline players here work extremely well together whether they are playing those quirky themes are just adding their own inter-connected lines together or around one another. The legendary Nu Band continues to wow us all with their multiple treasures. - Bruce Lee Gallanter, DMG
CD $15 (sale copy)

LIMITED EDITION 5 CD BOX SETS: The great Not Two label has decided to repackage some 30 of their previous releases into 5 CD sets which sell for just $25 a set. Not too shabby. There are no unreleased discs listed below, everything has been released previously. We just got in 3 copies of each set and hope to get another batch in a few weeks. After that, most-likely they will be sold out for good. Dig in now…

5 CD Set $25

5 CD Set $25

5 CD Set $25

5 CD Set $25

5 CD Set $25

5 CD Set $25


MATS GUSTAFSSON - Naja (Black Cross Solo Sessions 5)(CvsD 087; USA) Swedish saxophonist Mats Gustafsson might have a separate discography for his solo records. He's investigated the possibilities of unaccompanied reed music from almost every angle. Presented with the opportunity to make a new solo record under the isolation of the pandemic, Gustafsson returned to a project he'd conceptualized but never realized: the playing-card pieces of Peter Brötzmann. Although these Fluxus-like prompts are better known through the two card sets the German saxophonist created in the 1990s, which resulted in two CDs with his Chicago Tentet, Images and Signs (both released on Okka Disk), Brötzmann had in fact been using cards since the 1970s. Recording in his home studio in Nickelsdorf, Austria, Gustafsson used two of these sets of compositional prompts, one designed for the ICP Tentet and another intended as a spur for Brötzmann's own solo work. The instrumentation on Naja includes the entire saxophone family from sopranino to bass, as well as a piece for mouthpieces; this is also a rare opportunity to hear Gustafsson play more than one horn at the same time, a Roland Kirk move that he'd long ago sworn off but was prompted to do by the cards. In addition to nine pieces using the cards, Gustafsson played one non-card composition from Brötzmann's solo FMP LP 14 Love Poems. Stunningly mixed and mastered by Martin Siewert, with liner notes by Gustafsson, photos of the card boxes and the first photograph of Gustafsson and Brötzmann. Cover art, as on all Black Cross Solo Sessions CDs, by Christopher Wool.”
CD $15

HAMID DRAKE - Dedications (Black Cross Solo Sessions 6)(CvsD 088; USA) One of the towering creative musicians of our time, a master drummer and multiple percussionist, Hamid Drake has anchored inumerable bands. As a hard working player, constantly touring the globe, he's collaborated with most of the major figures in improvised music and contemporary jazz, from David Murray and Peter Brötzmann to Pharoah Sanders and Don Cherry. Along the way, Drake has never had an opportunity to stop and make a solo record. Indeed, he's only performed solo on a few occasions. John Corbett began petitioning Drake to record an unaccompanied session twenty years ago. At last, after the pandemic had (just slightly) slowed down Drake's incessant travel itinerary, a plan was hatched and he entered Experimental Sound Studio during the cold, hard month of December, 2020. With Corbett, Jim Dempsey, and engineer Alex Inglizian as his audience, Drake worked through a vaguely plotted-out blueprint, however after a few months had passed, the drummer was unsatisfied with the result. He returned to the studio in July, 2021, with no pre-planned notion, and this time the Hamid Drake magic was everywhere – perched on his drum-throne, working exclusively at the kit, sometimes plying metallic percussion atop the snare, Drake recorded nine tracks, a cornucopia of rhythms and textures that touch on his love of reggae and funk but retain the openness and buoyancy that have made him such a go-to figure among his peers. In the CD's liner notes, he says: "A dedication in spirit to all those who have influenced, helped, opened, nurtured, shown love for, and cared for me along the way." These include Brötzmann's band Die Like a Dog, longterm percussion pal Adam Rudolph and mentor Fred Anderson, fellow drummers Paul Lovens and Milford Graves, Don and Moki Cherry, Big Black, and others. The record, precisely and soulfully recorded by Inglizian, has the beauty and warmth that always radiate from Drake's sticks, from his person and spirit – deep humanity in the form of an unstoppable engine room. Cover art by Christopher Wool.”
CD $15

ARTO LINDSAY - Charivari (Black Cross Solo Sessions 7)(CvsD 089; USA) One of the architects of No Wave with his band DNA, a pioneer of noise guitar, sublimely inventive producer, and slinkily seductive songwriter, Arto Lindsay has worn countless musical hats. Invited to make a solo record for the Black Cross Solo Sessions, Lindsay boiled it down to essential ingredients, waxing a collection of bristling new songs and works for solo guitar; on six of a baker's dozen tracks, his angelic voice offsets the bracing dissonance of his acidic electric. Recorded at studios in Brooklyn and Araras, Brazil, Charivari has the intensity of a killer live session; it's closer in vibe to the more aggressive side of his work – think of his trio outing Aggregates 1-26 or the barbed riffs of classic DNA – than gorgeously arranged solo songwriting records like O Corpo Sutil (The Subtle Body). In these razor sharp cuts you may well discover the identity of what, in the song "Nothing," Lindsay calls "holier than thou timing." CD contains full transcriptions of Lindsay's lyrics. Cover artwork and design by Christopher Wool.”
CD $15

ZEENA PARKINS - To Dusk (Black Cross Solo Sessions 8)(CvsD 090; USA) Every day over the course of a year starting in June, 2020, in something she refers to as a "domestic ritual," Zeena Parkins recorded solo electric harp performances in her home studio. The brilliant improvisor and composer had, like most of her peers, been sidelined by the pandemic; unable to tour, she spent the end of each day at the harp, playing until sunlight waned, inventing and discovering new soundscapes, keeping her musical self together while the world seemed poised to crumble. Parkins' audience consisted of her boyfriend, filmmaker Jeff Preis (who filmed and recorded all the music) and their dog. Invited to participate in the Black Cross Solo Sessions, she returned to this deep well of recordings and selected ten tracks, augmenting the harp with pedals and resonant and resonating objects including bells and other percussion. To Dusk is a uniquely vibrating set of auditory investigations, a buzzing, ringing, hammering, plunging suite of instant compositions snatched from the maw of a malicious moment in the world's collective history. Liner notes by Zeena Parkins. Cover artwork and design by Christopher Wool.”
CD $15


ZEENA PARKINS With IKUE MORI / NUIKO WADDEN / KRISTEN THERIAULT / MEGAN CONLEY - Three Harps, Tuning Forks & Electronics (Good Child Music 0006; USA) Featuring Zeena Parkins on harp, electronics & composition with harpists: Nuiko Wadden, Kristen Theriault and Megan Conley plus guest Ikue Mori on electronics. This piece was first constructed for choreographer Neil Greenberg in 2008. Ms. Parkins has been working with dancers and choreographers since moving to NY in 1985. She has also been experimenting with both acoustic and her custom-made electric harp. Instead of over-dubbing her harps. Ms. Parkins decided to work with a trio of harpists who had to realize the more extended techniques that Zeena has been working on for more than thirty years. The results show the many ways that Ms. Parkins’ experiments have come up with new and unusual sounds which evoke a variety of creative spirits. It is rare to three acoustics harps playing together and the combination is extraordinary. Interlocking lines, muted and manipulated strings dance tightly together in majestic, cascading waves. Towards the end of this piece, the repeating lines have a Philip Glass-like effect yet consistently shift in tempo and dynamics, so that we never know where they will end up. On “Determined”, there are layers of ghost-like echoes or electronics which add a somewhat disorienting quality, buzzing like hundreds of bees reverberating together. On the final piece, “Coda”, it sounds as if the harps have multiplied, expanding to a more complex orchestral sound. Each time I play this disc, I hear more layers of ideas emanating through varied harmonies and thoughtful arrangements. - Bruce Lee Gallanter, DMG
CD $12

SEAN CONLY with LEO GENOVESE / FRANCISCO MELA - The Buzz (577 Records 5871; USA) Featuring Sean Conly on contrabass, Leo Genovese on piano and Francisco Mela on drums. Over the past decade there has been an ever-increasing number of great bassists moving to town, many of whom have played here at DMG at one time or another: Brandon Lopez, Kyle Motl, Sean Ali, Kenneth Jimenez, Adam Lane, Henry Fraser, Zach Swanson, Max Johnson, Chris Lightcap and Sean Conly. Sean Conly has worked with Darius Jones, Mara Rosenboom and Yoni Kretzmer but seems to record infrequently. I keep hearing great things about pianist Leo Genovese over the past decade although I’ve only caught him live once or twice. There has also been a buzz about Cuban drummer Francisco Mela going on for the past few years. He seems to be the drummer of choice, recently working with William Parker, Zoh Amba, Matt Shipp and Steve Gauci. Although Mr. Conly composed 6 of the 10 songs here, there are a few select covers by Sam Rivers, Michael Attias (former Conly bandmate), Paul Motian and evan a Stephen Sondheim (usually) cornball classic.
On the opening piece, “The Jake Leg”, the trio is stripped down yet it still evokes a spacious sense of mystery. Leo Genovese has a lovely, lyrical, dreamy touch on piano. “In the Stretch” is also skeletal and led by the bass. The piano, bass & drums play the theme in unison while Genovese adds some impressive flourishes, weaving his lines around the bass & drums. Sam Rivers’ song “Euterpe” is even more stripped down and features some stunning, eerie bowed bass from Mr. Conly. Exquisite! Michael Attias’ “From C to Sea” features some truly impressive piano from Mr. Genovese, as well as a marvelous drum solo from Mr. Mela midway. Mr. Conly is featured on the title track, spinning a quick web of notes in the center of the storm with a flurry of fine pianistics from Mr. Genovese. In some ways, some of you might not appreciate some the more restrained aspects of this disc. I found it to be a nice change of pace, most inventive on a more subtle level. “Send in the Clowns” is a song I often find to be much too schmalty for me. The version here which closes this disc is actually lovely, somewhat sad yet stirring. Mr. Conly’s bass takes the lead and the vibe feels like a nice way to bring this great disc to a fine close. - Bruce Lee Gallanter, DMG
CD $14

AMANDA IRARRAZABAL / MIRIAM DEN BOER SALMON - Fauces (577 Records 5904; USA) Featuring Amanda Irarrazabal on contrabass & objects and Miriam den Boer Salmon on violin. This disc was recorded in Amsterdam in May of 2019. I know know very little about either of these women, although Ms. Irarrazabal was/is part of group from Chile who collaborated with Otomo Yoshihide on a disc for the FMR label in 2019. Ms. den Boer Salmon can be found on a disc with Ernesto Rodrigues for his own Creative Sources label also released in 2019. It sounds like both women are dealing with playing their instruments with extended techniques. All of the sounds on this disc are acoustic as far as I can tell. They are also well recorded, warm and spacious. There is a strong, somewhat disorienting vibe as bow strings are bowed intensely, bending their notes in different directions, groaning, droning with some vocal-like sounds erupting as well. The one lesson I’ve over my long journey of serious listening is that there are Creative Musicians everywhere on this planet no matter where they or we are from. Improvised music is a Universal Language which is spoken everywhere and anywhere, it brings together folks from all over and speaks directly to us serious listeners no matter what verbal language we use. I find this disc to be completely engaging throughout. It doesn’t matter where these folks are from (Chile I think), they are speaking the same language of Free Improvisers United. - Bruce Lee Gallanter, DMG
CD $14

Local percussionist CARLO COSTA has been running this, the Neither Nor Records label since 2014 and has released 19 discs so far. Mr. Costa seems to be directly involved in each release, leading different bands on some, collaborating with a number of local heroes: Steve Swell, Sean Ali, French violist Frantz Loriot, Flin Van Hemmen and Ben Gerstein. When Mr. Costa played here several weeks ago, he left us with six newer discs, each one gem of a different type. Here’s a couple of reviews:

DIAPHANE with FRANTZ LORIOT / RAPHAEL LOHER / CARL LUDWIG HUBSCH / CARLO COSTA - Paris (Neither Nor Records n/n 018; USA) Featuring Frantz Loriot on viola, Raphael Loher on piano, Carl Ludwig Hubsch on tuba and Carlo Costa on percussion. Downtown percussionist has been slowly releasing discs on his own Neither Nor label since 2014, often with not much fanfare except for some occasional e-mail updates. Aside from a handful of Downtowners of note, Mr. Costa has become friendly with a number of European musicians like Frantz Loriot (from France), Flin Van Hemmen (Netherlands) and Carl Ludwig Hubsch (from Germany).
This is quite a unique line-up for this quartet. The eldest member here at 56 is German tuba great Carl Ludwig Hubsch, who I’ve known about for many years. I caught his trio Longrun Development of the Universe (with Wolter Weirbos & Matthias Schubert) once in NY. I also caught French violist Frantz Loriot when he was living in NY several years ago. He was working with Jeremiah Cymerman at the time. I don’t know much about Swiss pianist Raphael Loher, although he is a member of several bands: Kali, Road Works and Sekhmet. Carlo Costa recently played a fascinating low key trio set here at DMG with Kyle Motl on bass and Nicolee Kuster on French horn. This disc was recorded live at the Cafe de Paris in France in November of 2019. Like most discs on this label, the music is often quiet, somewhat minimal (but not really lower case) and the musicians draw from extended techniques. The music is subtle, stripped down, filled with suspense and nuance. Although the instrumentation is unique: viola, piano, tuba and percussion, the instrument work well together creating an enchanting solemn tension. There some sounds which are hard to figure out like the bowing (or e-bowing) or rubbing of strings inside the piano perhaps. While the tuba creates these low end thick bass drones, the blend of bowed strings and subtle percussion well worth considering. eventually the density, tempo and fervor pick up and the music gets even more fascinating. There sounds here which sound electronic so I am not sure who is doing what. The overall sound/effect is most compelling, stimulating.
CD $14

SEAN ALI - A Blink in the Sun (Neither Nor Records n/n 016; USA) Featuring Sean Ali on contrabass & voice. There seems to be a upsurge in solo contrabass discs over the last few years, from elders like Michael Formanek to some younger ones: Kyle Motl, Brandon Lopez and Sean Ali. Sean Ali has played here at DMG a number of times throughout the years: playing solo bass & mandolin, in duos, trios and quartets. Most recently he played in a quartet with Kenny Warren, Jacob Wick and Carlo Costa. Whenever Mr. Ali plays at DMG, he prepares his bass with cardboard tubes and other objects, getting unique sounds from his acoustic bass. This is Ali’s second solo bass effort for the Neither Nor Records label. Considering that this is a solo double bass (mostly) disc, it is hard to tell exactly what is going on here. “Salutations II” opens and sounds like we are walking through a factory of resonant metalwork throbbing. Just solo bass?!? Holy sh*t! Groaning ghost-like voices/sounds, expanding and contracting, over and over… Is that feedback, harmonics or what-the-…?!? Mr. Ali does a bit of spoken word talking on “The Same Brisk Place”, while he also plays the bass. The words, voice and bass work well together and evoke similar sounds and images, sometimes harrowing, sometimes thoughtful or pensive. Sometimes Ali’s voice repeats certain phrases either by overdubbing or using a sampling device. It is quite effective. Mr. Ali does a great job of overdubbing several basses and voices together in a seamless stream. He even whispers mysteriously on “Something Wrong Here” which has several layers of voices. Even if you’ve heard quite a bit of bowed bass, the sounds of the bass here is something else entirely. I love that Sean Ali has created his own sonic world which evokes a variety of mysterious sounds and words. Most impressive! - Bruce Lee Gallanter, DMG
CD $14


PAUL GIALLORENZO TRIO with JOSHUA ABRAMS / MIKEL PATRICK AVERY - Flow (Delmark DE 5026; USA) Featuring Paul Giallorenzo on piano & compositions, Joshua Abrams on bass and Mikel Patrick Avery on drums. Chicago-based keyboardist, Paul Giallorenzo, switches between playing piano and/or electronics, depending on which group (including several trios) or collaborators he is working with. On paper this looks like a regular piano trio but this is somewhat misleading. Josh Abrams plays both contrabass and guembri (North African bass-like instrument), moves easily through free jazz (with Fred Anderson), progressive jazz (with Nicole Mitchell & Mike Reed) and runs the amazing Natural Information Society a/k/a NIS (a cosmic drone outfit). The drummer for NIS is Mikel Patrick Avery, who appears here.
The opening piece is called, “a-frolick-ing”, whic makes sense since the repeating piano line does frolick nicely. I like the way the song seems to have two themes which keep switching back and forth. At times, these pieces are puzzling since they involve two or more themes or melodic ideas which never stay in one place yet evolve in their own unique way(s). “Rolling” starts off with a theme that sounds like standard yet then switches to a more Monk-like bent section, going back & forth between different themes with an inspired bass solo in the last part. Although they are a jazz trio of sorts, they remain unpredictable in the way things develop. Even songs that start off with walking bass also move through some quirky detours. “over/under” does start off this way and keeps the walking bassline yet it has a jumpy structure.
CD $15

PAUL GIALLORENZO TRIO With INGERBRIGT HAKER FLATEN/TIM DAISY - Pg3 IHF & tD (Not Two 864; Poland) Featuring Paul Giallorenzo: piano; Ingebrigt Haker Flaten: bass; Tim Daisy: drums. Mr. Giallorenzo recorded this Chicago session in 2007. Since then, individual members have joined other bands and associations, but this disc documents a short lived yet musically significant project. Giallorenzo has previously released the quintet session 'Get In To Go Out' (482 Music, 2009) and he also plays in electric/acoustic improvised settings in Chicago. Employing the standard piano trio format, Giallorenzo's compositions bounce between composed melodies and improvised freedom. His left hand often playing the trickster, that is when it isn't tracked by his right. The music smudges the lines between the tradition and the avant-garde. After Flaten and Daisy open the disc with the bluesy walk-"All Together Now," the pianist takes an Oscar Peterson stroll before (about the 3 minute mark) breaking the music apart with his two-handed attack. Daisy and Flaten respond, swiftly and smartly. This mini-maelstrom lasts until the blues is reestablished by the bassist. That signature sound, of threatened chaos and assured preservation percolates throughout. The music can start as a Keith Jarrett introspective wandering "Interlockin," and progress through Erroll Garner's orchestrated swing and into Cecil Taylor's freedom. Daisy and Flaten are committed to play along, adding swing to the crooked path. The march "Across The Pond" is quickly broken into confusion and a maelstrom of sound. Not to worry. The trio returns to the March after Daisy's solo and a quiet interlude. The instant communication between these three players begs for a reunion of sound. - Mark Corrotto, AllAboutJazz
CD Sale $15

PAUL GIALLORENZO'S GITGO With JEB BISHOP / MARS WILLIAMS / ANTON HATWICH / MARC RIORDAN - Emergent (Leo 641; UK) Featuring Paul Giallorenzo on piano & compositions, Mars Williams on saxes, Jeb Bishop on trombine, Anton Hatwich on bass and Marc Riordan on drums. I hadn't heard of the leader on this disc before getting this promo in the mail, but the members of this quintet should be more familiar. This is a most impressive new Chicago-based quintet with some heavy hitters. After more than a decade since moving to the Windy City and working with Hal Russell's NRG Ensemble, various projects with Ken Vandermark and Peter Brotzmann, saxist Mars Williams has become more visible over the last few years. Formerly of the Vandermark 5, Jeb Bishop also keeps pretty busy juggling several projects simultaneously. Mr. Hatwich is another mover who has worked with Aram Shelton, Dave Rempis and Kyle Bruckmann. Mr. Riordan has also recorded with Aram Shelton and a trio called Breakaway with a disc on Peira. Right from the gitgo, the first piece "On Your Marks", has that jubilant, South African, sorta funky, gospelish vibe. It feels just right and will make you smile. I really dig the soprano sax and trombone harmony on "Want It", again that groove is infectious with some spirited solos from the trombone and soprano (a great fractured solo) with nifty piano interjections. "Slow Rolled" has a twisted early Braxtonian structure with another fine soprano or sopranino solo from Mars and a theme that I can't get out of my head. Each piece shows another strong side of Mr. Giallorenzo's fine composing abilities and the music is rarely dense or just free. Jeb Bishop's solo on "Spatialist" is just outstanding, showing what a force he is to be reckoned with. One of the great things about this quintet is that the rhythm team has a natural, organic way of working together, speeding up and slowing down effortlessly. The piano, bass and rums often glide together while the sax and trombone trade ideas and lines in their own magical way. Considering that this is a debut disc for Paul Giallorenzo as a leader, it is a most impressive introduction to someone with a long career ahead of him. Bravo! - Bruce Lee Gallanter, Downtown Music Gallery
CD Sale $15

JEONG LIM YANG with SANTIAGO LEIBSON / GERALD CLEAVER - Zodiac Suite: Reassured (Fresh Sound New Talent 641; EEC) Featuring Jeong Lim Lang on acoustic bass, Santiago Leibson on pisno and Gerald Cleaver on drums. Practically each week, I am introduced to a new musician with whom I know little about. This week’s newbie is South Korean bassist Jeong Lim Yang who is a housemate of Trevor Dunn. This is Ms. Yang’s second leader date for the Fresh Sound label plus she has an online only bass duet recording with Trevor Dunn from last year (2021). This disc is a tribute to the legendary pianist and composer Mary Lou Williams. All but one of the songs were written by Mary Lou Williams plus 1 original by Ms. Yang. Like Ms. Yang, I am also a longtime fan of jazz pianist and composer Mary Lou Williams, whose long career stretched from the 1940’s through the 1970’s, passing away in 1981. Ms. Williams was an extraordinary pianist, as well as a great composer yet she remained under-appreciated due to being a female musician and being African-American. Ms. Williams composed her “Zodiac Suite” in 1945, just as bebop was starting to get noticed and was an influence of Ms. Williams’ playing. The piece is based on astrology with each song named after an astrological sign. Ms. Yang says in the liner notes that she is also a student of astrology which gives her insight into the way this music works. For her trio, Ms. Yang has chosen two fine Downtown musicians, Santiago Leibson (from Argentina) on piano and Gerald Cleaver on drums. I have only noticed the playing of Mr. Leibson over the past couple of years, hearing him play (on CD) with Steve Gauci and Shawn Lovato, with some eight discs under his belt going back to 2014.
On the original recorded version of “Zodiac Suite”, Ms. Williams plays mostly solo piano with minimal rhythm team interaction. For Ms. Yang’s version, she has chosen use the full capabilities her seasoned trio collaborators. I listened to the original version of this work on record last night and still find it immensely intriguing. This version is well thought out. Ms. decided to start off with “Pisces” not “Aries”, which is the first sign of the zodiac, since “Pisces” captures the magic of this trio so well. Here “Pisces” is powerful, the trio expanding together in a most exuberant way. Although the main theme is played most elegantly, the trio keeps pushing the inner turbulence higher throughout. Ms. Yang is a strong bassist and often starts off these pieces with a powerful, soul-searching sound. I love the way this trio pushed these songs further out or freer at times and then going back to the original themes for reference or familiarity. I reviewed a recent quartet date with Steve Gauci, William Parker, Tyshawn Sorey and Mr. Leibson and must admit that Leibson was in great form with three other heavy cats/elders. Each of 13 pieces here is fascinating to hear, from the central melody to the way it is embellished by the trio. Ever in-demand drummer, Gerald Cleaver, is featured on “Leo” and rises to the occasion with some incredible drumming which includes some melodic fragments from the written parts. On many levels this disc is a marvel of inventiveness which is somewhat surprising since most of these pieces were written some 77 years ago and still sound fresh and inspiring today. A true gem. - Bruce Lee Gallanter, DMG
CD $15

MASAHIKO TOGASHI / DON CHERRY / CHARLIE HADEN - Song of Soil (WeWantSounds 067CD; UK) “Wewantsounds announce a special edition of the legendary 1979 Masahiko Togashi album Song of Soil, recorded in Paris with Don Cherry and Charlie Haden and released on Japanese label Paddle Wheel. Supervised by Parisian producer Martin Meissonnier -- then Don Cherry's right-hand man -- Song of Soil reaches heights of spirituality mixing Eastern influences with jazz and deep ambient soundscapes. The album is reissued here with its original artwork and remastered by King Records in Japan. Masahiko Togashi's cult classic, Song of Soil was recorded just a few months after the Codona album release but unlike the landmark ECM album, Song of Soil was only released in Japan at the time. Thanks to Japanese pianist Takashi Kako, who was living in Paris at the time, a session had been set up with Don Cherry and Charlie Haden thanks to Martin Meissonnier, a young journalist and radio producer, who was starting to make an impression on the Paris music scene. Paris at the time was a buzzing city and one of the most active epicenters of jazz creativity. Masahiko Togashi was, at the time, one of Japan's most celebrated jazz musicians. He was a key exponent of the Japanese free jazz movement at the turn of the '60s. Despite an accident that had left him paralyzed from waist down, Togashi became more active than ever thanks to a special drumkit that enabled him to play like before. He came to Paris to record Song of Soil with the two American musicians who were touring Europe with their Old and New Dreams quartet (they'd played a concert promoted by Meissonnier at the Palais des Glaces on the July 31st). Always on the lookout for new inspiring adventures, Cherry agreed to do the session with Togashi and the musicians headed to the Ramses studio to record the album with Haden as the bassist. Comprised of six Togashi originals, Song of Soil is a superb blend of global improvisational interaction featuring Togashi's deep abstract drumming, Don Cherry's imaginary trumpet playing, and Charlie Haden's expansive basslines. Also present during the session was Don Cherry's friend, photographer Philippe Gras who'd shot the cult legendary short film Don Cherry in 1968. Gras shot the session for the album release and artwork. For Meissonnier, it was the beginning of a meteoric rise that would see him shape the global sound of the '80s with Fela Kuti, King Sunny Ade, and Rai musicians. A key album in Don Cherry's discography as well as an essential Japanese jazz album, Song of Soil is a unique meeting of the minds. Includes eight-page color booklet with liner notes by Jacques Denis/Martin Meissonnier and Paul Bowler plus unissued photos by Philippe Gras.”
CD $18 / LP $34

MAAJUN - Vivre la Mort du Vieux Monde (Souffle Continu Records 077CD: France)
Reissue, originally released in 1971. Before Mahjun -- with the two albums released by Saravah, reissued by Souffle Continu in 2016 (FFL 022LP, FFL 023LP) -- there was... Maajun. Five musicians (Jean-Pierre Arnoux, Cyril and Jean-Louis Lefebvre, Alain Roux, and Roger Scaglia) and three times as many instruments at the service of an electric-poetic guerrilla group molded from folk and blues. The group's unique album, Vivre la Mort du Vieux Monde evokes an (imaginary) association of Frank Zappa and Jacques Higelin, of Sonny Sharrock and the Art Ensemble Of Chicago. Under these conditions, Long Live Death! "The most French of all the French groups, determined to take Maurice Chevalier's place in American hearts." This was how Rock&Folk presented Mahjun in 1977. So be it. But when Vivre la Mort du Vieux Monde, was issued, it was 1971, and the name, though the same group, was still spelled Maajun. At the end of the sixties, five blues fans decided to form a French group ready to break down the barriers: Jean-Pierre Arnoux (drums, vibraphone, saxophone), Cyril Lefebvre (guitar, organ), Jean-Louis Lefebvre (bass, violin, guitar, vocals), Alain Roux (saxophone, flute, harmonica, vocals) and Roger Scaglia (guitar, vocals). This was Maajun, and Vivre la Mort du Vieux Monde would be their only album, but which would (nevertheless) be followed by those of Mahjun created later by Lefebvre (Jean-Louis) and Arnoux. Recorded for the Vogue label, Vivre la Mort du Vieux Monde would disturb a number of people. This is mostly due to the lyrics, many of which were written by Gérald Escot-Bocanegra, who, while summoning the spirit of Lautréamont and Rimbaud, turned the Maajun musicians on to rock and free jazz. Add a bit of politics into the mix, and the release of the album was delayed for several months. But then, wasn't it worth waiting for? Because Vivre la Mort du Vieux Monde, a real concept-album, is an important and iconoclastic statement made directly in the face of (francophone) dreamers of all countries. Over heavy guitar riffs, psychedelic interludes or fantasy-fueled digressions, Maajun built mazes on the advice of alchemists known only to themselves before heading off on a long march on the "cracking walls". Licensed from Maajun. Carefully remastered and restored by Gilles Laujol. Graphic design by Stefan Thanneur. Includes liner notes by Ian Thompson and rare photos.
CD $16


LOTTE ANKER / FRED FRITH - Edge of the Light (Intakt 237) - CD Sale $16

CD Sale $13

LOTTKE ANKER / JACOB RIIS - Squid Police (Konvoj Records 006; Denmark)
CD Sale $13


WHIT DICKEY / KIRK KNUFFKE - Fierce Silence (Clean Feed 376; Portugal)
CD Sale $10

SKM with STEPHEN GAUCI / KRIS DAVIS / MICHAEL BISIO - Three (Clean Feed 189; Portugal)
CD Sale $10

JOE FIEDLER TRIO With JOHN HEBERT / MARK FERBER // ALBERT MANGELSDORFF - Plays The Music Of Albert Mangelsdorff (Clean Feed 49; Portugal)
CD Sale $10

CD Sale $10

NICK FRASER With TONY MALABY / ANDREW DOWNING / ROB CLUTTON - Is Life Long? (Clean Feed 452; Portugal)
CD Sale $10

CD Sale $10


CD Sale $10

NU BAND with MARK WHITECAGE / ROY CAMPBELL Jr / JOE FONDA / LOU GRASSI - Live at the Bop Shop, Rochester NY, January 27 2001 (Clean Feed 02; Portugal)
CD Sale $10

RENKU with MICHAEL ATTIAS / JOHN HEBERT / SATOSHI TAKEISHI - Live in Greenwich Village (Clean Feed 354; Portugal)
CD Sale $10

SAMO SALAMON / TONY MALABY / ROBERTO DANI - Traveling Moving Breathing (Clean Feed 468; Portugal)
CD Sale $10

ELLIOTT SHARP / SCOTT FIELDS - Scharfefelder (Clean Feed Guitar Series 03; Portugal)
CD Sale $10

ELLIOTT SHARP - Octal: Book One (Solo Koll 8-string Electroacoustic GuitarBass)(Clean Feed Guitar 02; Portugal)
CD Sale $10

STEN SANDELL / MATTIAS STAHL - Grann Musik (Neighbour Music)(Clean Feed 109; Portugal)
CD Sale $10

RAFAEL TORAL / DAVU SERU - Live In Minneapolis (Clean Feed 248; Portugal)
CD Sale $10

2 CD Sale Set $16

PATTY WATERS with BURTON GREENE / MARIO PAVONE / BARRY ALTSCHUL - An Evening in Houston (Clean Feed 547; Portugal)
CD Sale $10


BLOOD QUARTET with MARC CUNNINGHAM - Root 7 (Feeding Tube Records/Cardinal Fuzz 701LP; USA) Pioneer of the New York no wave with the bands Mars and Don King, Mark Cunningham has been part of the Barcelona music underground for almost 30 years, performing solo, with his own groups Raeo, Convolution, Aleatory Grammar, and Bèstia Ferida, as a member of Pascal Comelade's Bel Canto Orchestra and Superelvis, and in countless local and international collaborations. Blood Quartet was formed in early 2015 in Barcelona from a fortuitous collaboration between Cunningham and Catalan underground rock trio Murnau B. An outstanding musical treat that starts from the instrumental base of the modern jazz quartet and takes it to the territory of experimentation and electronics. Blood Quartet sound more luminous and rhythmic than ever, diving into uncharted terrain. This results in an exceptional range of genres that play with the form between the classic and the contemporary, and that extend the creative spectrum of the band towards new styles, such as krautrock and North African music. The result of this process has given rise to nine themes, each one baptized with the title of a literary work by some reference writers of the members of the quartet, in order to add more roots of meaning, more shadows of influence. Produced by Mark Cunningham. Composed by Blood Quartet. Recorded by Pablo Miranda at Fabra i Coats, Barcelona. Mixed by Pablo Miranda at La Isla Estudio, Barcelona. Mastered by Chris Hardman, UK. Personnel: Mark Cunningham - trumpet, guitar; Lluis Rueda - Guitar; Kike Bela - bass, Korg MS-10; Marc Eugeni - drums.
LP $30



If you have a link for some music that you are working on and want to share it with the folks who read the DMG Newsletter, please send the link to DMG at



Friday, December 30 at 7 pm
Marilyn Lerner (piano), Ken Filiano (bass & electronics), Lou Grassi (drums & percussion)

At the New Michiko Studios (new location)
15 West 39th St, NY, NY
7th Floor, Elevator Equipped
$20. suggested donation


Loren Connors: A Coming to Shore
January 28–March 25, 2023
Opening 4–7 PM January 28
11am–6pm, Thursday–Saturday

Loren Connors and Alan Licht
January 28, 2023, 7 PM
Blank Forms
468 Grand Ave #1D
Brooklyn, NY 11238



Wednesday, January 4 - Sunday, January 8, 2023
Formerly Studio Rivbea / Currently Gene Frankel Theater
24 Bond Street, NYC - just east of Lafayette St.
TICKETS: In-person $25 in advance/ $30 at the door
Livestream $5 Fees

Full Schedule of Studio RIVBEA REVISITED Performers
Schedule subject to change without notice.
Get Tickets at Eventbrite - Livestream Pass $15 
Wednesday, January 4
5pm | Sharing stories from Rivbea:  Warren Smith, Ahmed Abdullah, William Parker, David Kreuter, Rick Lopez, Brent Hayes Edwards
7pm | Karen Borca Trio: Karen Borca - bassoon / Hilliard Greene - bass / Warren Smith - vibes
8:30 | Fred Moten poetry / Brandon Lopez - bass     
9pm | James Brandon Lewis Band  
Thursday, January 5
7pm | Cooper-Moore Trio: Cooper-Moore - diddley bow, etc.  / Melanie Dyer - viola / Brian Price - reeds
8:30 | Ahmed Abdullah - trumpet / Monique Ngozi Nri - poetry
9pm | Isaiah Collier Trio
Friday, January 6
7pm | Onyx Collective: Isaiah Barr - sax / Austin Williamson - perc, elec.
8:30| Anne Waldman - poetry
9pm | Centering Dance & Music (original title of their group in the 1970s) William Parker / Patricia Nicholson / Ellen Christi / Lisa Sokolov
Saturday, January 7, 2023
7pm | Darius Jones Quartet: Darius Jones - alto sax / Nick Saia - guitar / Lester Saint Louis - bass / Jason Nazary - perc.
8:30 | Bob Holman - poetry
9pm | Dave Burrell piano / Joe McPhee reeds and trumpet
Sunday, January 8
3:00pm |  Melanie Dyer We Free Strings: Melanie Dyer - viola / Charles Burnham, Gwen Laster - violin / Alex Waterman - cello / Rahsaan Carter - bass / Newman Taylor Baker - percussion
4:30pm | Amina Claudine Myers Solo - piano, voice 


This one is from CHRIS CUTLER, original member of Henry Cow, Art Bears, News from Babel, respected author and founder of Recommended Records. This is Chris’ wonderful podcast and I urge you all to give it a listen… the new one just popped up today, 7/27/22:


THERE IS A RECENT INTERVIEW with FRED FRITH by Rick Rees that is found here: . Rick Rees has been working on a website/blog/book/whatever about the great producer/manager/instigator/raconteur Georgio Gomelsky. Gomelsky is someone I’ve long admired and Rees is doing a good job of documenting/interviewing numerous Gomelsky associates. The Fred Frith interview is great and if you are a Frith fan, you should want to know about a number of upcoming projects, tours, etc. This interview showed up in my email during the last hour of my birthday last Sunday and it made me smile. Fred Frith & myself are old friends and he is someone whose music and attitude I really admire. - BLG



The wonderful Slovenian guitarist/composer Samo Salamon has an incredible podcast on Youtube entitled "DR. JAZZ". He has interviewed many of the leading lights of contemporary improvisation including Bill Frisell, Hal Galper, Herb Robertson, Ben Monder, Bob Moses etc. and his conversations are deep and enlightening. Highly recommended for all curious listeners across the worlds of creative music. Here is the link below..


Guitarist and DMG-pal HENRY KAISER has a monthly Video Solo Series on Cuneiform’s Youtube page:
Henry Kaiser